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This version of Brecht's great anti-war play is by David Hare and was premiered by the National Theatre, London, in November 1995. In this chronicle of the Thirty Years War, Mother Courage follows the armies back and forth across Europe, selling provisions and liquor from her canteen wagon. One by one she loses her children to the war but will not part with her livelihood - the wagon. The Berlin production of 1949, with Helene Weigel as Mother Courage, marked the foundation of the Berliner Ensemble.
Considered by many to be one of the greatest anti-war plays ever written and Brecht's masterpiece, it remains a powerful example of Brecht's epic theatre and pioneering theatrical style.
- Sales Rank: #445436 in Books
- Brand: Brand: Methuen
- Published on: 2010-12-01
- Released on: 2010-12-01
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .26" w x 5.00" l, .20 pounds
- Binding: Paperback
- 93 pages
- Used Book in Good Condition
Review
“At last--the definitive translations of one of the 20th century's most influential playwrights…Far superior to the competition.” ―Theatre Journal
About the Author
A major dramatist of the twentieth century, Bertolt Brecht (1898-1956) was the founder of one of the most influential theatre companies, the Berliner Ensemble, and the creator of some of the landmark plays of the twentieth century: The Threepenny Opera, The Life of Galileo, Mother Courage and The Caucasian Chalk Circle.
Most helpful customer reviews
102 of 116 people found the following review helpful.
An appalling translation
By G M
What were Penguin thinking? "Mother Courage and her Children" is a German-language play set in the 1600s. There is therefore no excuse for having one character turn to another to say "Bob's your uncle" within the opening lines. When reading this play, we are supposed to be hearing the voices of German peasants and soldiers. However, I found myself listening to what sounded like north-of-England coal-miners. (Perhaps this was translator John Willett's clever rendering of the 'Verfremdungseffekt'. If so, it has certainly succeeded in alienating this reader.) Within the first two scenes, we hear Mother Courage herself using such choice verbiage as:
"Talk proper to me, do you mind, and don't you dare say I'm pulling your leg in front of my unsullied children, 'taint decent, I got no time for you. My honest face, that's me licence with the Second Regiment, and if it's too difficult to read there's nowt I can do about it."
Talk proper, indeed. It gets worse. Here is another dollop of Yorkshire pudding for the reader to chew on:
"My eldest boy. It's two years since I lost sight of him, they pinched him from me on the road, must think well of him if the general's asking him to dinner, and what kind of a dinner can you offer? Nowt."
The dinner, it seems, is a dog's dinner. So awful was this translation that I soon wound up buying the Eyre Methuen edition (with Eric Bentley translating). Compare-and-contrast the two translations:
~~~~~~~~~~~~~~~~~~~~~~
--Scene 1:--
EYRE METHUEN:
"Stay here. You're never happy till you're in a fight. He has a knife in his boot and he knows how to use it."
PENGUIN:
"Stop there! You varmint! I know you, nowt but fights. There's a knife down his boot. A slasher, that's what he is."
~~~~~~~~~~~~~~~~~~~~~~
--Scene 2:--
EYRE METHUEN:
"Dear God, it's my Eilif!"
PENGUIN:
"Jesus Christ, it's my Eilif."
~~~~~~~~~~~~~~~~~~~~~~
--Scene 2:--
EYRE METHUEN:
"Listen. When a general or a king is stupid and leads his soldiers into a trap. they need the virtue of courage."
PENGUIN:
"Look, s'pose some general or king is bone stupid and leads his men up shit creek, then those men've got to be fearless, there's another virtue for you."
~~~~~~~~~~~~~~~~~~~~~~
So it was obvious by the end of Scene 2 that the cause was lost. I skipped to the end to see did it get any better. Nope:
--Scene 12:--
EYRE METHUEN:
"I hope I can pull the wagon by myself. Yes, I can manage. There's not much inside it now."
PENGUIN:
"Hope I can pull the cart along by meself. Be all right, nowt much inside it."
~~~~~~~~~~~~~~~~~~~~~~
But why should we expect any better from this edition? No less than four different writers contribute three prefatory essays before the play has even started. They contain such aeroboard passages as:
"... perhaps no other literary or performative work has so relentlessly and ruthlessly engaged in such a critical-aesthetic experiment on war."
"Brecht understood, well before Anthony Swofford in his 2003 Gulf War I chronicle 'Jarhead', that all performative discourse on war, even the most antiwar, never rises above 'pornography' - hence the dangerous high-wire act Brecht performs with Mother Courage and its setting within the Thirty Years war."
And in case the clanking prose of the first quote didn't make enough of an impression on you, the next page reminds the reader that:
"For such a relentless and ruthlessly intellectual and emotional piece, it is a stunningly simple story."
Leaving aside the fact that Swofford wrote a memoir - which was therefore nothing to do with the 'performative' world, Brecht's "aesthetic and critical enterprise" was clearly about as dangerous as the consumption of a low-fat yoghurt. But the central problem here is the translation. We all know that verisimilitude was hardly Brecht's number one priority: that's no excuse, however, for Willett's trashing of the German language. The most important question facing any reader is how much value they will get from this translation. The answer is: nowt.
0 of 0 people found the following review helpful.
Very happy with this
By Dale F.
just as described. Very happy with this item
3 of 3 people found the following review helpful.
A Depressing Drama about Human Tragedy re Total War
By James E. Egolf
Bertolt Brecht (1898-1956)wrote a terribly depressing play which demonstrated the loss of character and decency among soldiers and civilians caught in the middle of total war. While the background of the play was the Thirty Years War (1618-1648),the play was about the terrible conditions that existed during W.W. II and thereafter. Brecht knew his work would "raise eyebrows," but he wrote and spoke that he did not care who was irritated by his work.
Brecht's background as a refugee from the Hitler regime and places that German forces invaded involved his relocating to avoid arrest and the ravages of war. In other words, Brecht knew the ravages and loss of self respect that war can generate. The characters in this drama were willing to "sell their souls" in other to either survive or to make money by taking advantage of the war. Mother Courage was willing to sacrifice her children to profit from the Thirty Years War. Maybe the message was that parents and cowardly political leaders are willing to sacrifice the lives of sons and daughters to satisfy their vain egos and "arm chair patriotism."
The misery described in this drama reflects the tragic dilemmas faced by civilians caught in the middle of W.W. II. The German/Soviet War (1941-1945)forced civilians caught in the middle to be at the mercy or lack thereof of German and Soviet forces. A saying was that men lost all hope, and women lost sense of shame if only to survive. The same conditions were faced by Germans during the Thirty Years War especially when mercenary troops were not paid and vented their frustrations on civlians. Famine and abuse of civilians was the norm during the Thirty Years War and poor souls during W.W. II.
Brecht's work resulted in his summons to the HUAC where he made fools out of the inquisitors and anyone who tried to nail him. Similar conditions existed during the Thirty Years war when Swedish troops under the command of King Adolphus (1611-1632)committed numerous atrocities in parts of Germany. As C.V. Wedgewood (1910-1997), the noted British historian, noted her book titled THE THIRTY YEARS published in 1939, war and violence beget more war and violence. The moral of Brecht's play is that the war involved so much hatred that the Europeans had difficulty to end this war until total exhaustion forced them to do so.
Brecht's drama should be read in conjunction with the book titled THE BACKWASH OF WAR. Both books give a depressing yet vivid reminder of what war does to people. The Ancient Greek historian, Thucydides (c. 460-c.400 BC) made similar remarks in his work THE PELOPONESIAN WAR. If readers can revover from the depression of Brecht's drama, the play is not long, they should stop and engage in serious reflection.
James E. Egolf
June 14, 2013
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